had left the house, the old man entered the yard in a state of misery bordering on frenzy.  He and his brother were starving, had been starving for days.  He was too proud to own his want, and too loyal to his brother to leave him for the sake of the food prepared for them both at Agatha’s house, and this was why he had hesitated over his duty till this late hour, when his own secret misery or, perhaps, the hope of relieving his brother drove him to enter the gate he had been accustomed to see open before him in glad hospitality.  He finds the lights burning in the house above and below, and encouraged by the welcome they seem to hold out, he staggers up the path, ignorant of the tragedy which was at that very moment being enacted behind those lighted windows.  But half-way toward the house he stops, the courage which has brought him so far suddenly fails, and in one of those quick visions which sometimes visit men in extremity, he foresees the astonishment which his emaciated figure is likely to cause in these two old friends, and burying his face in his hands he stops and bitterly communes with himself before venturing farther.  Fatal stop! fatal communing! for as he stands there he sees a dagger, his own old dagger, how lost or how found he probably did not stop to ask, lying on the grass and offering in its dumb way suggestions as to how he might end this struggle without any further suffering.  Dizzy with the new hope, preferring death to the humiliation he saw before him in Agatha’s cottage, he dashes out of the yard, almost upsetting Mr. Crane, who was passing by on his homeward way from an errand of mercy.  A little while later Amabel comes upon him lying across his own doorstep.  He has made an effort to enter, but his long walk and the excitement of this last bitter hour have been too much for him.  As she watches him he gains strength and struggles to his feet, while she, aghast at the sight of the dagger she had herself flung down in Agatha’s yard, and dreading the encounter between this old man and the lover she had been following to this place, creeps around the house and looks into the first window she finds open.  What does she expect to see?  Frederick brought face to face with this desperate figure with its uplifted knife.  But instead of that she beholds another old man seated at a table and—­Amabel had paused when she reached that and—­and Sweetwater had not then seen how important this pause was, but now he understood it.  Now he saw that if she had not had a subtle purpose in view, that if she had wished to tell the truth rather than produce false inferences in the minds of those about her calculated to save the criminal as she called him, she would have completed her sentence thus:  “I saw an old man seated at a table and Frederick Sutherland standing over him.”  For Sweetwater had no longer a doubt that Frederick was in that room at that moment.  What further she saw, whether she was witness to an encounter between this intruder and James, or whether by some lingering